Tosca opera complete how to#
Her ‘Vissi d’arte’ is full of despair and is a perfect example of how to deliver an aria as a dramatic piece. As Tosca, Alexia Voulgaridou goes from seductive to tormented and unleashes a full, gutsy tone throughout her entire range. He benefits from performances that are as fulfilling vocally as they are dramatically. Alexia Voulgaridou and Yonghoon Lee in Tosca. He builds tension in every scene, to the point where audience members are on the edge of their seats, despite knowing exactly what happens next. There are no gimmicks here, just clear storytelling that is faithful to the source material and scene work that reveals what we need to know about the characters and drives the action forward. Simply, he directs like a director who has nothing to prove. There’s integrity, a lightness of touch and a confidence that pervades every element of this production. Director John Bell has gently bought the action forward to Nazi-controlled Rome, infusing the story with tension and intrigue.īell’s direction is of a quality too rarely seen on Opera Australia stages. They get tangled up in the French invasion of Rome in 1800 and both their lives are threatened when Cavaradossi helps to hide a political prisoner. Puccini’s action-filled melodrama centres on the relationship between opera star Tosca and painter Cavaradossi. This sense of truthfulness and authenticity is in every moment of this brilliantly realised Tosca. It’s richly detailed, on a massive scale and yet never feels garish and is almost uncomfortably real. Such is the impact of Michael Scott-Mitchell’s mammoth set of white marble and towering columns which draws visual cues from Sant’Andrea della Valle, where the action is actually set.
The pain and confusion is all there the place of peace, quiet and open air still in need of evocation.When the curtain first rose on the Act I set of John Bell’s new production of Tosca, there was an audible gasp throughout the audience. That’s a legitimate approach, but what is less clear in her singing is possibility you will have heard Toscas who are more dedicated to aspiration, who reach further for hope in the soaring Puccini notes of what could be, the potential rewards that drive the courageous as they fight off oppression. In the piece, Tosca’s journey starts with misplaced worries about her lover’s fidelity, only for her to realize that her main problems lie abroad in political matters artists, she learns to her cost, cannot escape their surroundings. It’s quite magnificent, in a very contemporary, tolerant and openhearted sense of that word.īradley’s vocal emphasis in the famed title role is on that character’s agonized response to the ascending chaos around her. He’s figured out that his painter, Mario, is as uninterested in power as anyone playing him thus should be in the bravura he’s an idealistic seeker and that is how he sings. Thomas is an accessible tenor, a singer with a humanistic quality, a performer who attaches kindness to every note. Here, they both are artists who, even though they have their struggles and jealousies as we all do, want nothing so much as to seek out beauty. At its core, “Tosca” (like “West Side Story”) is a portrait of two lovers unable to find their place, done in by the battles that surround them, and used to further the agenda of others.
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